The chapter discusses the concept of dromomania, a psychological condition characterized by an obsession with movement and a loss of identity, which is seen as a key to understanding the avant-garde imagination. The author, Michalina Kmiecik, draws on Ian Hacking's description of the first recorded case of dromomania, involving a man named Albert who traveled obsessively and lost his sense of self. This condition is linked to the progressive and innovative nature of modern art, where artists are driven by a need for constant movement and a loss of their own identity. The chapter also explores the work of Paul Virilio, who describes dromomania as a modern form of mass mobilization, where individuals are compulsionally driven to move, often without control. This is compared to the avant-garde movements of the 20th century, such as Constructivism and Futurism, where artists and architects sought to create new forms of speed and movement, leading to a loss of identity and a focus on the process of creation over the final product. Michalina Kmiecik further examines the concept of dromoscopy, a term used by Virilio to describe the experience of observing objects in motion, which can lead to a perception of reality as fluid and dynamic. This is reflected in the works of Julian Przyboś, where the act of movement becomes a central theme, blurring the boundaries between the observer and the observed, and between the past and the future. Przyboś's poetry, particularly in his later works, such as "Na kołach" (On the Wheels), demonstrates a dromoskopical perspective, where the journey itself becomes the primary focus, and the destination is always just out of reach. The chapter concludes by discussing how the avant-garde movement, through its emphasis on speed and movement, aligns with the principles of dromoscopy, where the act of creation and the act of observation are intertwined, and the boundaries between the artist and the artwork are blurred. This dromoskopical perspective challenges traditional notions of art and reality, pushing the boundaries of what can be perceived and understood.The chapter discusses the concept of dromomania, a psychological condition characterized by an obsession with movement and a loss of identity, which is seen as a key to understanding the avant-garde imagination. The author, Michalina Kmiecik, draws on Ian Hacking's description of the first recorded case of dromomania, involving a man named Albert who traveled obsessively and lost his sense of self. This condition is linked to the progressive and innovative nature of modern art, where artists are driven by a need for constant movement and a loss of their own identity. The chapter also explores the work of Paul Virilio, who describes dromomania as a modern form of mass mobilization, where individuals are compulsionally driven to move, often without control. This is compared to the avant-garde movements of the 20th century, such as Constructivism and Futurism, where artists and architects sought to create new forms of speed and movement, leading to a loss of identity and a focus on the process of creation over the final product. Michalina Kmiecik further examines the concept of dromoscopy, a term used by Virilio to describe the experience of observing objects in motion, which can lead to a perception of reality as fluid and dynamic. This is reflected in the works of Julian Przyboś, where the act of movement becomes a central theme, blurring the boundaries between the observer and the observed, and between the past and the future. Przyboś's poetry, particularly in his later works, such as "Na kołach" (On the Wheels), demonstrates a dromoskopical perspective, where the journey itself becomes the primary focus, and the destination is always just out of reach. The chapter concludes by discussing how the avant-garde movement, through its emphasis on speed and movement, aligns with the principles of dromoscopy, where the act of creation and the act of observation are intertwined, and the boundaries between the artist and the artwork are blurred. This dromoskopical perspective challenges traditional notions of art and reality, pushing the boundaries of what can be perceived and understood.